The Magic of Consistency Maik Krahl

• 1 Le Pin Sec 06:23
• 2 Colorado Adventure 05:06
• 3 Seamus Introduces 01:09
• 4 Tragedy of Being in Time 02:15
• 5 Julius Peter Introduces 01:10
• 6 Dance for Lovely Sleepy Humans 06:44
• 7 Waiting for the Third Minute 05:45
• 8 Peter Introduces 00:47
• 9 Wolf and Dog / Friendly Encounter 06:00
• 10 Maik Introduces 01:35
• 11 Roofless / A Topless Structure in the Middle of Nowhere 05:03
• 12 The Magic of Consistency 06:08
• Total Runtime 48:05

Info for The Magic of Consistency

Where would a painter paint if it were not on a white canvas? Where would a composer compose if it were not on the stave and the spaces in between the lines? How would a musician play his instrument if there were no melodies composed, written down, painted for him to follow?

The magic of art needs a frame, a somewhat solid container to hold the freedom that can only be found once we integrate some form of structure. And that also holds in every other area of life. We all need a frame, a structure, a rhythm, or else, we fall apart. This human form needs the body, and yet it transcends the limitations of the body - through art.

Consistency being one of them seems oftentimes less tangible, for it resides more in the act of doing, and showing up for the practice, for devoting energy and presence. Strangely, if we consistently show up for our practice, regardless of its form, the solid frame of the hour we devote to playing the instrument, learning a language, doing the sport, sitting silently for that meditation: It feels different every single time. It feels new every single time.

The repetitive consistency in being present again and again allows for nothing short of magic to happen. Magic feeds consistency. Consistency feeds magic. Consistency sets a foundation that strengthens over time. It allows us to slowly but surely develop any kind of skill, to find and hence to embody expertise. On the fertile grounds of such a solid foundation, creativity fosters, and innovation blossoms.

Establishing consistent rituals and routines can bring a sense of comfort and safety into every-day-life. For routine beholds repetition and its frame enables our experience within to change. In the familiar, we dare to explore, maybe even experiment, merely because a part of us remembers we depart from, and always return to, a safe space. We do not get lost. We do not fall apart. As we practice, again and again, we build resilience in overcoming obstacles or literally persevering through challenging situations and stretches of time.

While consistency gifts steadiness and stability, its overdose risks to result in what may appear as uniformity. It feels like constantly - consistently - dancing on the fine line of freedom within a structure. Life is filled with unexpected twists and turns, adjustments need to be made to accommodate change and avoid rigidity. By striking a balance between consistency and flexibility, we can create harmony in our lives, just like a beautiful melody that flows smoothly from one note to the next.

Within the magical waves of music, skills are needed, too. Consistency is key to show up and do the work. It frames the freedom of magic that resides beyond and only beyond effort. Learning to play an instrument, learning to sing, does never happen within the blink of the eye. It takes time. Time to show up for the practice, to do precisely that: practice. Again and again, every single time, again and again. Precision feeds perfection that falls apart inside the structure of a song, a line, a rhythm, dissolving into magic.

Consistency in practicing, in composing and sharing music with the world regardless of the form allows any musician to refine his style, to carve out his uniqueness. For any artistic expression is, after all: Unique. And this uniqueness is born inside the vessel of any structure, over and over again. Sharing music in the form of new releases and public performances nourishes the bond between artist and audience. And for that to unfold, both parties need to show up - while the underlying beat of this never-ending practice is presence fuelled by consistency.

"... Maik Krahl has a ravishingly gentle and at the same time clear tone, a secure modern understanding of form, and above all, he loves to phrase with an air of understatement..." (Jazzthing)

"... Clear, almost shimmering, it plays around Blake's saxophone lines. A tableau full of possibilities, magical, consistent." (Jazzthing)

Maik Krahl, trumpet
Seamus Blake, saxophone
Julius Peter Nitsch, bass
Peter Gall, drums

Maik Krahl
completed his jazz studies at Carl Maria von Weber Hochschule für Musik Dresden and also studied the Master of Music Jazz Improvising Artist at Folkwang University of the Arts in Essen. His most influencing teachers were Till Brönner, Malte Burba and the American jazz trumpet player Ryan Carniaux.

His first album Decidophobia was released in 2018 with Double Moon / Challenge Records International. His second album Fraction featuring Seamus Blake was released two years later in May 2020 with Challenge Records International. With his own quartet, Krahl plays numerous concerts in all important jazz clubs all over Germany as well as at festivals such as International Jazz Week Burghausen, JazzBaltica, Hildener Jazztage, Trave-Jazz Festival, Jazzfest Bingen or Birdland Radio Jazz Festival. His third album In-Between Flow was released in September 2022 and features world famous guitarist Kurt Rosenwinkel. Maik Krahls new album The Magic of Consistency will be released in November 2024 and features Seamus Blake on Saxophone. Besides working as a band leader Krahl is a steady part of the Cologne based Subway Jazz Orchestra. With this big band he recorded five albums: Primal Scream (2015), State of Mind (2016), Richbeck Suite (2018), Still Screaming (2020) and You are the Universe (2023). Krahl joined the WDR Big Band as a guest musician in productions and concerts. Furthermore, he won the HI Five Music Award in 2023 and is a three-time scholarship winner of the Werner Richard - Dr. Carl Dörken Stiftung – most recently with his quartet.

Concerts brought him to Greece, Guinea-Bissau, Canada, Croatia, Lithuania, Serbia, Senegal, and the US. Traveling the world allowed him to work with musicians like John Clayton, Kurt Elling, Maria Schneider, Benny Green, Jeff Hamilton, Ingrid Jensen, John Ruocco, and Jiggs Whigham.

Furthermore, Maik Krahl teaches jazz trumpeters as well as ensembles and leads the department of brass instruments at Offene Jazz Haus Schule in Cologne.

Maik Krahl represents his generation’s current top of the German jazz trumpeter. His musical statements enrich me and let me look forward into a future of a whole genre, which will always exist. Big compliment! - Till Brönner

This album contains no booklet.